Script Sample - Musicline

12 Time Lord – Script
(perhaps with pre-recorded film of each move). The effect of the cupboard turning into a
time machine can be achieved by turning round the walls to reveal controls and screens
etc., as in Star Wars or Doctor Who. The effect of being in a time machine may be
enhanced by the use of a smoke machine and/or stage lighting (as much as you can
muster). Small LED lights in the set can also help with the illusion that the actors are in a
futuristic space machine. This is the biggest challenge and should be done with as much
imagination, care and enthusiasm as possible.
Scene Three: The Old House, 1942 – This should be similar to the setup in Scene Two as
it takes place in the same room, but 70 odd years earlier. The walls can be turned back
from the Time Machine to revert back to the living room and the cupboard should be as it
was, without the wallpaper covering. Some furniture and props such as a wireless (radio)
could be used to give the impression of the 1940s. Use whatever is available or obtainable!
The game needs to be on set again as there is a throw of the dice that takes the characters
back through time; however the Time Machine is not revealed this time. They move inside
the cupboard under Track 7 and return into the next scene: the Crimean war in 1854. There
is a sound effect of distant guns that continues after the music into the next scene for as
long as necessary.
Scene Four: The Dardanelles, 1854 – This can be performed downstage (towards the
audience if using traditional theatre layout) and can be very simply staged using at least
three camp beds or just three mattresses or cushions laid out on the floor. Florence
Nightingale can come from the side and the lighting should be dim enough so that her lamp
or lantern can be seen brightly. There could be an outline of a tent around the scene to
depict the kind of temporary hospital there would have been during the Crimean War. The
lamp should be able to shine so an electric torch or stage lantern should be adapted (an oil
or candle lamp would be dangerous).
Scene Five: The Dark Cave – As with Scene One, this scene could be performed in front
of a rostra, or perhaps to the side of the main acting area. Three chairs are required with a
table in the centre. The lighting should once again be dark until the ‘Rap-off’ when pulsars
or coloured lights could be used if available. A ‘dummy’ stage mic. could be brought on for
the rappers if desired.
Scene Six: The Time Machine – The walls should be rotated to ‘inside the time machine’
as set at the end of Scene Two. Again, much use should be made of lighting and other
special effects. The game and dice are again required to take the actors back to 1808 and
Beethoven’s music room.
Scene Seven: Beethoven’s Room, Vienna, 1808 – This scene requires a simple desk or
table, which could be adapted to look like an early piano for Beethoven to work on. He also
needs a chair and an ear trumpet (perhaps made from card and painted if nothing brass is
available). Towards the end of this scene the Dinopod guards move the children away from
Beethoven’s work space so that he can disappear, either on his own, by lighting the others
or perhaps by placing some scenery in front of him. Lord Emit and later the children exit on
the opposite side of the stage.
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